The Faculty of Humanities Master´s Thesis Project Cover page for the Master’s thesis Submission January: [year] June: 2020 Other: [Date and year] Supervisor: Bryan Yazell Department: HUM Title, Danish: Title, English: On Magic: How Magic Systems in Modern Fantasy Disrupt Power Structures of Race, Class, and Gender Min./Max. number of characters: 144,000 – 192,000 Number of characters in assignment1: (60 – 80 normal pages) 169,570 (1 norm page = 2400 characters incl. blank spaces) Please notice that in case your Master’s thesis project does not meet the minimum/maximum requirements stipulated in the curriculum your assignment will be dismissed and you will have used up one examination attempt. (Please The Master’s thesis may in anonymized form be used for teaching/guidance of mark) future thesis students __X__ Solemn declaration I hereby declare that I have drawn up the assignment single-handed and independently. All quotes are marked as such and duly referenced. The full assignment or parts thereof have not been handed in as full or partial fulfilment of examination requirements in any other courses. Read more here: http://www.sdu.dk/en/Information_til/Studerende_ved_SDU/Eksamen.aspx Handed in by: First name: Helen Last name: Jones Date of birth: 02/02/1996 1 Characters are counted from the first character in the introduction until and including the last character in the conclusion. Footnotes are included. Charts are counted with theirs characters. The following is excluded from the total count: abstract, table of contents, bibliography, list of references, appendix. For more information, see the examination regulations of the course in the curriculum. How Magic Systems in Modern Fantasy Disrupt Power Structures of Race, Class, and Gender Helen Jones XXXXXX-XXXX Abstract The fantasy genre is often considered to be one of escapism. Yet modern works are increasingly grounded in our own political reality. The political allegories of fantasy have been explored somewhat within academic literature, but one aspect driving modern conceptions of the genre remains undiscussed: that of magic. This thesis argues that the modern fantasy genre uses magic as a tool to address real political issues. Magical power, and the question of who gets to wield it, is a concept that seems far-removed from our reality. Yet the way magic systems shape the very power structures of these fantasy worlds reveals the political inequalities and prejudices of ours. To demonstrate how magic disrupts power structures, this thesis focuses on three modern works of fantasy and the politics of their magic. In particular, issues of race, class, and gender are explored using relevant fields of literary criticism to guide analysis. Firstly, N.K. Jemisin's Broken Earth series, whose magic system parallels racial inequality. Jemisin, the first black writer to have won the Hugo Award, is a prominent voice on the racial divide in modern America. Her writing, from Broken Earth to How Long 'til Black Future Month? speaks bluntly on the risidual pain and persisting inequality of African American experience. Jemisin's Broken Earth uses its magic system to explore themes of black identity, coping with atrocity, and of overthrowing systems of oppression. As a postmodern work, The Broken Earth demonstrates not only the sophistication of fantasy as a literary genre, but also the prevalence and importance of its political magic. Secondly, Robert Jordan's Wheel of Time is used to explore the power dynamics of gender. Jordan’s bestselling epic fantasy series has seen him described as an American Tolkien, and his inclusion satisfies both the criteria for including a truly classic work of fantasy and one which is deeply relevant to issues of gender. Jordan’s magic system is strictly split into male and female magic, but after the corruption of the male half only women are capable of wielding it. This premise empowers the women of Jordan’s world, leading to matriarchal structures which challenge traditional gender dynamics. Yet Jordan’s depictions of gender are also inconsistent. Sexist characterising of female characters persists, and Jordan’s magic system is one which ultimately only accepts binary readings of gender. Jordan’s Wheel of Time therefore shows how magic can not only reimagine power structures, but also risks reinforcing them. Finally, Susanna Clarke’s Jonathan Strange & Mr. Norrell examines issues of class. Jonathan Strange & Mr. Norrell, having won the Hugo Award in 2005, is set apart from other works of fantasy by its Victorian Gothic pastiche. Clarke evokes the style of Dickens, Thackeray, or Austen, and uses her work, set in an alternate Victorian England, to champion the rights of the working class. Clarke’s novel follows two competing interpretations of what magic ought to be. Upper and lower class magics are pitched against one another, allowing Clarke to critique the social immobility of elite institutions and to rally around the causes of worker unions. Clarke ultimately launches a critique of the upper classes which translates into modern day issues of inequality. Finally, Clarke challenges static and idealistic understandings of history to urge her reader to see history as something dependent upon perspectives and critique: using her magic system to frame a solidly Marxist reading of both history and politics. In arguing that magic is key to the political commentaries of modern fantasy, relevant critical theorists have been drawn upon. Fantasy critics including Farah Mendelsohn, Brian Attebery, and Rosemary Jackson are used alongside the works of Tolkien and Le Guin to frame existing fantasy criticism and give context to the modern works under examination. In regards to postcolonial, gender, and Marxist readings of the texts, the work of Mark Jerng, Butler and Wickham, and Freedman and Suvin, respectively, have been drawn upon to guide discussion. Ultimately, this study finds that the fantasy genre is one of untapped value. In reading magic as a tool of allegory and insight to our world, it is shown that modern fantasy poses challenging critiques to the politics of race, gender, and class. Magic is not only a force of power, but of empowerment. Contents On Fantasy ............................................................................................................................ 3 Definitions .................................................................................................................................... 3 Criticism ........................................................................................................................................ 5 Clichés ........................................................................................................................................... 7 On Magic ............................................................................................................................ 10 A History of Magic....................................................................................................................... 10 Magic Systems ............................................................................................................................ 11 On Race in N. K. Jemisin’s Broken Earth Trilogy ................................................................. 15 Representations of Race ............................................................................................................. 16 Of Magical Blood......................................................................................................................... 19 The Ivory Tower .......................................................................................................................... 24 On Gender in Robert Jordan’s The Wheel of Time .............................................................. 30 A Female Gandalf ........................................................................................................................ 31 From Morgan le Fay to Moiraine ................................................................................................ 34 Magic, Sex, Bodies ...................................................................................................................... 38 On Class in Susanna Clarke’s Jonathan Strange & Mr. Norrell ........................................... 43 Fantasies of Class ........................................................................................................................ 44 Gentleman Magicians ................................................................................................................. 46 Conclusion .......................................................................................................................... 53 Works Cited ................................................................................................................................ 55 On Magic: How Magic Systems in Modern Fantasy Disrupt Power Structures of Race, Class, and Gender Magic is power. The ability to call lightning, to summon demons, to bend creatures to your will, is evidently one which grants great power, yet even in its everyday uses the term ‘magic’ implies influence. Merriam-Webster define magic as an ‘extraordinary power or influence seemingly from a supernatural source’, while the Collins dictionary defines it as ‘the power to use supernatural forces to make impossible things happen’, granting the user ‘control’. Magic is synonymous with power, and so its redistribution therefore possesses